Author: libartowrites

Scottish Chamber Orchestra Chorus (with Chorus Director Gregory Batsleer) photographed in The Great Hall of Stirling Castle by Christopher Bowen, June 2022.

REVIEW: The Scottish Chamber Orchestra: Silent Night

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Rating: 3 out of 5.

  A technically brilliant performance that lacked staying power

The Scottish Chamber Orchestra Chorus and Kana Kawashima brought a beautiful holiday concert to the magnificent Grayfriers Kirk this week. The programme offered an intriguing blend of traditional and contemporary works, celebrating the season with a thoughtful selection of pieces. Performed in the atmospheric Greyfriars Kirk, the venue provided a fittingly intimate and acoustically vibrant setting for the Scottish Chamber Orchestra Chorus and Kana Kawashima’s violin interludes.

Highlights of the concert included Vaughan Williams’s “The Truth from Above”, which set a reflective and understated tone, and Judith Weir’s “Drop down, ye heavens”, evoking a serene sense of mystery. Tavener’s “Hymn to the Mother of God” brought a sense of cosmic depth, its rich harmonies resonating powerfully in the space, while Howells’s “A Spotless Rose” was a poignant nod to the beauty and purity of the season. These moments showcased the ensemble’s technical precision and control, which were consistently evident throughout the performance.

Kana Kawashima’s violin solos, such as Bach’s “Largo from Sonata No. 3 in C”, were technically flawless, highlighting her exceptional skill. However, while her playing was impeccable, it sometimes lacked emotional warmth, leaving these interludes feeling more like exhibitions of technical brilliance than moments of heartfelt reflection. Similarly, the chorus performed with exceptional clarity and cohesion, but their delivery often felt restrained, missing opportunities to convey deeper passion and expressive intensity that might have drawn the audience more fully into the music’s emotional heart.

The new arrangement of “Silent Night” by Lucy Walker, while a commendable effort, did not entirely achieve its intended impact. As the concert’s centerpiece, it carried the weight of expectation to provide a moment of profound emotional resonance, but the arrangement felt subdued, unable to evoke the familiar carol’s full depth of feeling.

REVIEW: Bibi Club – Feu de garde

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Rating: 4 out of 5.

A refreshing and approachable thoroughly indie music experience

Montreal’s own Bibi Club brought their unique sound to Edinburgh as the first stop on their brief, three part UK tour promoting their latest album Feu De Garde.  Performing at Sneaky Pete’s, the dynamic duo composed of Adèle Trottier-Rivard and Nicolas Basque, captivated the assembled audience with a powerful hour-long set featuring their latest work and older favorites in a blend of English and French. Whimsical and wonderful and yet grounded in experience, the album is composed of fresh and intense explorations of experiences and concepts.

Despite their minimalist setup, Bibi Club’s sound filled the intimate venue with droning and hypnotic intensity, leaving the audience thoroughly engaged by their bold and unmistakably original style. Visually and energetically compelling, the performance was consistently vibrant and immersive song after song, and notably spectacular to see Trottier-Rivard perform on keys, percussion and vocal sometimes simultaneously. Paired with Basque’s downright amazing guitar skills; the duo made the intimate gathering feel much more akin to a stadium tour with their musical athleticism. It was refreshing to witness musicians wielding their voices and instruments with such raw intensity, unfiltered by excessive production. Their repertoire ranged from soulful melodies to dystopian, chaotic soundscapes—an impressive, though at times startling, span of musical expression.

Displaying both laser-like focus and a palpable connection with the audience, Trottier-Rivard and Basque showcased undeniable creative chemistry. A particular highlight of the night was Basque’s seemingly unplanned venture into the crowd to play among the audience, responding seamlessly to some particularly boisterous attendees.

Accurately described by one spectator as “music for musicians,” it was a performance that took knowledge of music and production to fully appreciate in entirety—along with Canadian French. Bibi Club’s performance was cinematic, memorable, and an exhilarating addition to Edinburgh’s music scene. Their show left a lasting impression and introduced a compelling new sound to the city for those gathered. On a technical level it is notable to mention that despite the hypnotic quality of the album the Bibi’s performance was loud and percussive. Whether this is a venue specific experience or a consistent choice remains to be seen, however it is notable to prepare accordingly.

REVIEW: Bluevolution World Tour

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Rating: 4 out of 5.

A raucous, if confusing, masterclass in performance art.   

Capital Theatres is in for an electrifying experience this week with the arrival of the Bluevolution World Tour. The renowned Blue Man Group, often hailed as the loudest mimes in the world, took to the stage and captivated audiences with their signature blend of absurdity and comedy. Their latest show introduces a new “Rockstar” cast member, adding fresh energy to this performance art troupe, which has been entertaining and mystifying audiences since the 1980s with their unique take on live entertainment.

True to Blue Man Group’s unconventional style, the audience was immediately welcomed with interactive screen prompts, establishing early on the expectation of active participation. With their characteristic droning percussion and signature PVC pipe set design, the overall effect felt intriguingly surreal against the grandeur of the Festival Theatre’s ornate setting. The show unfolded through a series of sketches that ranged in intensity, hilarity, and delightful chaos, with the standout moments, as always, revolving around their inventive musical and percussive elements. The trio delivered their trademark blend of physical comedy and slapstick, building up to a climactic display of loud, messy, and immersive multi-sensory performance.

At a runtime of 90 minutes, the show packed in a substantial amount of content. However, the pacing in the first half was notably problematic, leading to a somewhat disjointed performance. The performers leaned heavily into physical comedy and audience interaction, but this focus left upper-level audience members disengaged during lulls in the action. Unfortunately, some attendees chose to leave during this slower section, missing out on the energetic and exhilarating finale. While the overall effect was comical, the pacing issues detracted from the show’s impact, making it feel both underwhelming and overstimulating in parts. This challenge could be attributed to the cast adjusting to the venue’s unique demands, but as an internationally acclaimed group well into their tour, expectations for a polished and engaging experience were high.

Despite the rocky start, the second half of the show redeemed itself with all the excitement and spectacle fans have come to expect. The energy remained high, with rhythmic, creative percussive explorations and enhanced audience participation. The performance art elements grew increasingly bold, culminating in larger-than-life theatrics. The new “Rockstar” member showcased her impressive drumming skills, though she could have benefitted from more time in the spotlight alongside the ensemble. The finale, featuring dynamic musical numbers and explosive visuals, brought the performance to a satisfying conclusion.

A word of caution: if you are sensitive to strobe lights, this production is not sensory-friendly, as flashing lights play a significant role throughout the performance.

In summary, while the show’s first half struggled with pacing, the Bluevolution World Tour ultimately delivers the captivating and chaotic fun that has made Blue Man Group a global phenomenon. With some adjustments, it promises to be an unforgettable experience for those who enjoy high-energy, multi-sensory performances.

REVIEW: Will Shea, Won’t Shea?

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Rating: 4 out of 5.

 The wonderful result of finally “figuring it out.”

No one else is going to romanticize your life for you, so why not orchestrate your own romantic  comedy as a one woman show to make sense of the fact you are a lesbian? This quirky, queer coming out story is a years long journey of self-discovery in the comfort of a black box theatre. Humorous, awkward and obvious in its complete subversion of the “insert your name here” through line, Shea had the group of aptly called out twenty something bisexuals howling with laughter. This meet cute turned friends to almost lovers but not quite, is a wonderful slice of life that perfectly demonstrates the disobliging way of the universe to not do what we want.

With excellent delivery and physical comedy, Shea displayed the onslaught of identity discovery in the ally to lesbian pipeline. Her story could be anyone’s story and yet was also uniquely her’s complete with an almost dollhouse set of props and an ingeniously clever notebook to prompt the audience throughout. The universality of the piece, that obviously resonated with all those assembled, served as its greatest strength narratively but did add a level of impenetrable confusion that did become a bit much to parse out at times. By engaging so broadly, we lost a little of the heart of her central coming out story. Overall though, it was an incredibly enjoyable piece that gave a comedic voice to an often emotional and dramatic process of coming to terms with what seems obvious to everyone around you. 

https://tickets.edfringe.com/whats-on/will-shea-won-t-shea

REVIEW: Shantify!

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Rating: 5 out of 5.

A whimsical voyage on the high seas of music.

The Edinburgh Fringe Festival played host to some West End Leading men this month in the form of a sonorous sextet and their show Stantify!. The group, developed out of a lockdown passion project, has been dazzling audiences online and in-person with their witty and fun renditions of musical theatre, pop and rock songs. After several viral moments, Shantify! has taken residence in the Fringe delighting sold out audiences young and old.

This show is pure fun. With the added bonus of taking place in a circus tent, this hour-long set is full of theatrical hits—with particularly wonderful renditions of Sweeny Todd, Moulin Rouge! and 9 to 5—and a smattering of pop favorites, chief among them Beyonce. With a well-executed nautical theme and some truly tragic puns, it was a spectacular viewing experience. Despite stating early in the show that they “obviously do not take themselves seriously,” it is clearly far from the truth. It is apparent great care and consideration was taken in crafting the set, complex vocal arrangements and choreography.

Music has an uncanny ability to bring people together from any walk of life; the real triumph in this show lies in that truth. These men have taken a simple premise and their vocal prowess and created something fun, engaging and wholesome. There is a tangible sense of comradery among the group as they move from song to song, each taking turns showcasing their incredible vocal talents. It takes skill to sell out a circus tent performance at midday in the Fringe. If you are looking for a show that leaves you feeling a little lighter than when you walked in and with a newfound passion for nautical nonsense this is the show for you.

https://tickets.edfringe.com/whats-on/shantify

REVIEW: Alok

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Rating: 5 out of 5.

A show true to the artist; transcendent.

After their sell out run at the Traverse Theatre in 2022, the comedian (important distinction) ALOK has returned to Edinburgh for a stint at the Edinburgh Fringe with their show Hairy Situation. No one has thought more about identity from a comedic standpoint than ALOK. This thought provoking and provocative set is easily the most informative, comedic perspective on the trans, POC experience gracing the stage currently.

Making sense of a reality that is both deified and demonized is no small feat. In this hour ALOK guides the audience through a series of experiences that illustrate their intersectional reality with humor and blunt honesty. This comedy is simply refreshing in its stark contrast to others who occupy the comedy category in the Fringe space; a point ALOK, themselves, make. In short, this set transcended the genre and ventured into impactful discourse on identity, personhood and society.

Through evaluating the necessity for trans visibility in an increasingly hostile world, to bonding over the joys of expression, and the societal onslaught against body hair, ALOK gave voice to the queer community in ways that have traditionally been glossed over. By showcasing their myriad experiences—through humorously and artfully crafted anecdotes—navigating the world as an intersectional person, they invited the audience to engage with their humanity as well.  

Empowering and downright funny, this show gives permission to the audience to engage more fully in the personhood of those around them with increased awareness about the societal norms we participate in and perpetuate.

https://tickets.edfringe.com/whats-on/alok

REVIEW: Ticket To Wonderland

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Rating: 4 out of 5.

Wonderfully clever and endlessly entertaining.

Ready for a trip to wonderland from the comfort of your local train station? Erstwhile Media brings this magical and modern retelling of the Lewis Carroll classic to the Free Fringe Stage to great success. Alice is a relatable young person navigating the world of dating, a complicated mother/daughter relationship and the mounting pressure to have life all figured out. When she falls asleep on the job…again, the audience are invited into a fantastical trip as her subconscious attempts to do just that—figure it out—with the help of some familiar characters.

In a stroke of magical realist brilliance, the Cheshire cat is an overeager Tinder date, the Caterpillar is a stoner and local drugs dealer, the Hatter is a bygone teacher, and the Queen of Hearts is none other than Alice’s own dear, croquette obsessed mother. With excellent use of physical comedy these distinct characters are beautifully brought to life each with fantastical dialogue, witty modernizations and superb acting.

Incredibly accessible, this narrative encompasses all the familiar trappings of its inspiration while speaking directly to the lived experience of many twenty-somethings in the audience. The distinct scenes between Alice and the other cast were excellently paced with incredible cleverness. The energy in the transitional scenes did lag and unfortunately kill some of the narrative’s momentum leaving the piece to have an overall jarring quality about it. This was exacerbated by the presence of a few underdeveloped scenes, but was not a glaring distraction from the quality of the work as a whole. This piece is likely one rewrite away from perfection, and, as such, deserving of all the praise it has received from its audience. 

https://tickets.edfringe.com/whats-on/ticket-to-wonderland

REVIEW: Catholic Guilt

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Rating: 5 out of 5.

A performance that strikes with the force of a confession and the ferocity of a reckoning.

Kelly McCaughan returns triumphant to the Fringe Festival Stage with her show Catholic Guilt. Irreverent and bold, McCaughan dominates the stage intent to make sense of her Catholic upbringing in the only conceivable way possible—by meeting absurdism blow for blow. Together with McCaughan, the audience relives and deconstructs her eventful religious past, succinctly encompassing the whole deconstruction of her years long faith in just one mock church service complete with an offertory, and congregational singing.

This sensory hell of a piece may be the boldest bit of theatre to grace the Fringe stage, bearing witness to likely the most blasphemous dance sequence upon a sacrificial altar of “The Body and Blood of Christ.” With wild oscillations between poignant questions and painful audience participation, this piece left everyone thoroughly drenched in the feeling of Catholic Guilt that inspired such a work. Truly an immersive experience, McCaughan does not shy away from abusing her audience in a myriad of imaginative ways ranging from liberally doled out holy water to gelatinous goo created from vicious mastication on whole bread rolls mixed with red wine and pulverized underfoot.

Culturally relevant and downright refreshing in the most off putting of ways, this show is abrasive, gritty and somehow also liberating and vindicating for those who shared her experiences. Her performance is a raw confrontation against institutional control and a fierce rebellion against the suppression of sexuality and identity. There is something undeniably exhilarating in her unorthodox approach—a blend of chaos and unhinged defiance that ultimately finds freedom in expression after years of repression.

In the end, Catholic Guilt is unconventionally enjoyable and conventionally challenging, a theatrical experience that pushes boundaries and provokes thought, while McCaughan revels in the catharsis of her own rebellion.

https://tickets.edfringe.com/whats-on/kelly-mccaughan-catholic-guilt

REVIEW: Adults Only Magic Show

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Rating: 4 out of 5.

This show is exactly what you think it is.

The Fringe Stage welcomed Australian throuple Sam, Magnus and Justin with their internationally acclaimed Adults Only Magic Show. The title really paints a picture of their act, so viewers, please consider what “Adults only” means to you before attending. Starting off strong with some incredible crowd work, Magnus brilliantly set the tone for the whole evening with jokes that heated the cheeks and inspired clutching the pearls early on. Providing excellent comedic backing and some well-placed diversion tactics throughout the show, his command of the stage was consistent and sometimes downright shocking.

            Sam and Justin demonstrated an abundance of passion for their craft while also latching on to the comedic elements inherent in their premise. The whole show was a masterclass in the marketability of sex as a tool for sleight of hand and a means for exploring some very expertly done illusions. This cross genre exhibition is a textbook example of art evolving to maintain relevance, to great effect. Remarkably funny and downright raunchy at times, this show is an enigma from beginning to end with puzzling feats of magic, raucous comedy, and jockstraps held together with a puff of smoke and a prayer.

            This show is not for the faint of heart or easily shocked. Every interaction is drenched in innuendo from the moment you walk into the room until you follow the scantily-clad Sam and Justin out of the venue. The appeal of this show is obvious and exactly what you expect. If you are looking for something that has you laughing until you feel unwell, this is the show for you. Just remember “No” is a full sentence and bring hand sanitizer if you plan to touch anything. 

https://tickets.edfringe.com/whats-on/adults-only-magic-show

REVIEW: Hold On To Your Butts

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Rating: 4 out of 5.

A crowd pleaser for all ages, this marathon of a show is engaging, stomach-achingly funny, and exactly what you would expect at the Fringe

In a brilliant move to marry classic cinema and physical theatre, Hold Onto Your Butts is a must see at this year’s Fringe Festival. A whirlwind of characters and sound, this herculean effort was infinitely likeable from the first moment. This shot by shot theatrical parody of beloved classic Jurassic Park was faithfully and inventively done with an imaginative array of props and a live Foley artist. Playing all characters, the acting pair were an absolute delight, and their joy performing the show was evident.

It is no small feat to attempt to recreate a widely beloved film in a completely different media. This team took the challenge head on and achieved something ridiculous and brilliant in equal measure. From dinosaurs clad in party hats and singing The Proclaimers, to helicopters consisting of umbrellas, the sheer creativity of this piece was meteoric.

A crowd pleaser for all ages, this marathon of a show is engaging, stomach-achingly funny, and exactly what you would expect at the Fringe. This already brilliant show would be even more spectacular with more distinct transitions between characters. As the transitions were fast and chaotic, the character tracking became impossible to follow, but it is likely as the weeks progress, and the show settles into the Fringe run, this will occur naturally. An excellent team with a firm grasp of comedy; physical, situational, and parody this show deserves all the praise and success the Festival has to offer.

https://tickets.edfringe.com/whats-on/hold-on-to-your-butts